Die tote Stadt
Longborough Festival Opera
2022
"magnificently done – and comes straight from the heart"
Jessica Duchen, i News ★★★★★
★★★★
The Telegraph
★★★★★
The Arts Desk
★★★★★
i News
★★★★
The Stage
★★★★
Bachtrack
★★★★★
Plays to See
Photos by Matthew Williams-Ellis
“Cleverly pared-down take on Korngold’s creepily compelling fable”
“Longborough Festival Opera’s new staging of this 1920 opera-noir deserves to have a long future life”
Telegraph ★★★★
“This is an important event, and a big feather in Longborough’s already well-feathered cap.”
“The direction is crisp and to the point”
“Carmen Jakobi’s profoundly sensitive production”
Arts Desk ★★★★★
“Director Carmen Jakobi has a great sympathy for and understanding of the implications of the tale and its style”
"a privilege to hear this work so convincingly presented"
Plays to See ★★★★★
“Carmen Jakobi’s production is deceptively simple and exceptionally effective”
"The psychology of grief compellingly explored"
Bachtrack ★★★★
“Carmen Jakobi has produced a strong staging, focused on the drama’s essential conflicts”
"magnificently done – and comes straight from the heart"
i News ★★★★★
“a staging that was well thought out and visually stunning...Jakobi focused on working with the singer-actors, building the characters from dozens of simple and thus even more telling gestures”
Dorota Kozińska, atorod.pl
"a wholly original hit, in the redoubtable Carmen Jakobi's shivering and spectacular – and stunningly staged and sung – production...You could read much of the pained story just from Jakobi's lustrous staging, and from her principals' expressions"
Classical Music Daily
“Carmen Jakobi’s new production…exploits the venue’s intimacy to generate a highly charged and sometimes overwhelming experience”
"Die tote Stadt packs a punch at Longborough Festival Opera"
MusicOMH ★★★★
“Inspired casting”
The Stage ★★★★
“Carmen Jakobi's direction over Nate Gibson's resourceful and versatile set, lit skilfully by Ben Ormerod, worked brilliantly”
Midlands Music Reviews ★★★★★
“Jakobi and her team brilliantly blur the boundaries between the ‘real’ and the ‘virtual’”
Opera Today